Paul Cezanne (1839 - 1906) is widely known as one of the most influential artists of the XIX century. Traditionally, it belongs to the post-impressionists, but its unique method of building forms, working with color and an analytical approach to nature influenced the art of Cubists, Fauvists and subsequent generations of avant-garde artists. Matisse and Picasso called Cezanne "our common father."
“Cezanne wanted his models to be as immovable as apples, and dreamed of ever surprising the whole of Paris with an apple. The main task of Cezanne has always considered to comprehend the essence of the form of the object - to do it much more reliably and efficiently, when the object does not distract the artist with fussiness and change of posture, ”read the artist’s more detailed biography here.
Left: Paul Cezanne, "Self-portrait in a bowler hat" (1885 - 1886). New Glyptotek Carlsberg
- Paul Cezanne, "Uncle Dominique (Lawyer)", 1866. Orsay Museum collection, Paris
- Paul Cezanne, The Gardener Valle (1906). National Gallery of Art, Washington
The “face” of the retrospective will be the portrait “Boy in a red vest” (1890) from the collection of the National Gallery of Art in Washington. It surprisingly combines the innovation of Cezanne and his admiration for the past. To many art critics, the boy’s posture is reminiscent of the languid elegance of 16th century portraits. This is a reference to the early years of Cezanne, who copied pictures of old masters in the Louvre.
On the other hand, this portrait can be viewed as an independent existence of form and color. Pay attention to the colors used on the hands and face: these green and mauve shades have nothing to do with human skin. The background of the corners and smooth arcs, from which the head is about to spin, is at first difficult to “read” like draperies and the back of a chair. It rather splits up space, rather than defining it. Paintings like this, anticipated the work of Cubist Georges Braque and Pablo Picasso.
Cezanne wrote four portraits of his wife in the same yellow chair upholstered in a damask. It seems that all the paintings were created in a very short period. On all the canvases of Hortensia (Marie-Ortans), Cezanne sits in the same position, and the whole prop is reduced to the chair and the wall behind. The classic calm of the works is combined with some bourgeois simplicity. Cezanne refuses to make even a hint of fashion: his wife does not wear hats and jewelry, and this type of chair could be found in French middle-class homes from the 17th to the 19th centuries.Madame Cezanne in a yellow armchairPole Cezanne1890, 80.9 × 64.9 cmPortraitt portrait is a realistic genre depicting an existing person or a group of people. The portrait - in the French reading - portrait, from the old French portraire - "reproduce something line in line." Another facet of the name of the portrait lies in the outdated word "parsuna" - from the Latin. persona - "person; person". Read more Madame Cezanne talks a lot about tensions between spouses. The woman in this picture, apparently, suffers from his wife and model with the greatest patience, bordering on indifference. Her face resembles a mask, her hair is knotted, her lips are tightly compressed. Nevertheless, she seems to move her hands, which contradicts the seeming calm of her posture.
The execution of the portrait by Cezanne is associated with the same requirements as the still life: the structure of the figure, the distinctness of the form and the relationship between them, the harmonization of color in the construction of the composition - all this is subject to careful scrutiny. In the portraits of “Madame Cezanne in the Yellow Armchair”, the artist apparently experimented with three primary colors: red (dress), yellow (chair) and blue (wall). On each canvas, the woman's face is conveyed by a multitude of shades, but violet-red, yellow and blue merge into small spots around the mouth.Portrait of Paul, artist's son Paul Cezanne 1890, 65.3 × 54 cm The exhibition Portraits of Cezanne at the Orsay Museum will open on June 13 and will end on September 24, 2017. After that, she will move to the London National Portrait Gallery (October 26, 2017 - February 11, 2018), and then to the National Gallery of Art in Washington (March 25 - July 1, 2018). Art: read us in Telegram and look at Instagram On the official websites of the mentioned galleries